Search results for ""New Directions""

Mr. Empson sees the pastoral convention as including not only poems of shepherd life but any work "about the people but not by or for" them. Finding examples in the writing of every country and century, from Mencius to William Faulkner or Céline, he concentrates on an analysis of certain works and forms in English literature, several of them, like Alice in Wonderland, Troilus and Cressida, and proletarian novels not traditionally considered pastoral. His chapter on Milton and Bentley is a precursor of Mr. Empson’s 1961 book, Milton’s God. With virtuoso clarity and perception throughout he brings the student to a new awareness of hidden values in individual works and to the creative possibilities of the language.

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The seven stories of You Glow in the Dark unfold in a Latin America wrecked and poisoned by human greed, and yet Colanzi’s writing—at once sleek and dense, otherworldly and intensely specific—casts an eerily bright spell over the wreckage. Some stories seem to be set in a near future; all are superbly executed and yet hard to pin down; they often leave the reader wondering: was that realistic or fantastic? Colanzi draws power from Andean cyberpunk just as much as from classic horror writers, and this daring is matched by her energizing simultaneous use of multiplicity and fragmentation—the book's stylistic trademarks. Freely mixing worlds, she uses the Bolivian altiplano as the backdrop for an urban dystopia and blends Aymara with Spanish. Colanzi never gets bogged down; she can be brutal and direct or light-handed and subtle. Her materials are dark, but always there’s the lift of her vivid sense of humor. You Glow in the Dark seizes the reader's attention (from the title on) and holds it: this is a book that announces the arrival of a major new talent.

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An almost unbearably intimate novella, The Road to the City concentrates on a young woman barely awake to life, who fumbles through her days: she is fickle yet kind, greedy yet abashed, stupidly ambitious yet loving too—she is a mass of confusion. She’s in a bleak space, lit with the hard clarity of a Pasolini film. Her family is no help: her father is largely absent; her mother is miserable; her sister’s unhappily promiscuous; her brothers are in a separate masculine world. Only her cousin Nini seems to see her. She falls into disgrace and then “marries up,” but without any joy, blind to what was beautiful right before her own eyes. The Road to the City was Ginzburg’s very first work, originally published under a pseudonym. “I think it might be her best book,” her translator Gini Alhadeff remarked: “And apparently she thought so, too, at the end of her life, when assembling a complete anthology of her work for Mondadori.

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Mine has been a life of much shame. I can’t even guess myself what it must be to live the life of a human being. Portraying himself as a failure, the protagonist of Osamu Dazai’s No Longer Human narrates a seemingly normal life even while he feels himself incapable of understanding human beings. His attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a “clown” to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness. Still one of the ten bestselling books in Japan, No Longer Human is an important and unforgettable modern classic: “The struggle of the individual to fit into a normalizing society remains just as relevant today as it was at the time of writing.” (The Japan Times)

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Early Light offers three very different aspects of Osamu Dazai's genius: the title story relates his misadventures as a drinker and a family man in the terrible fire bombings of Tokyo at the end of WWII. Having lost their own home, he and his wife flee with a new baby boy and their little girl to relatives in Kofu, only to be bombed out anew. "Everything's gone," the father explains to his daughter: "Mr. Rabbit, our shoes, the Ogigari house, the Chino house, they all burned up," "Yeah, they all burned up," she said, still smiling. "One Hundred Views of Mount Fuji," another autobiographical tale, is much more comic: Dazai finds himself unable to escape the famous views, the beauty once immortalized by Hokusai and now reduced to a cliche. In the end, young girls torment him by pressing him into taking their photo before the famous peak: "Goodbye," he hisses through his teeth, "Mount Fuji. Thanks for everything. Click." And the final story is "Villon's Wife," a small masterpiece, which relates the awakening to power of a drunkard's wife. She transforms herself into a woman not to be defeated by anything, not by her husband being a thief, a megalomaniacal writer, and a wastrel. Single-handedly, she saves the day by concluding that "There's nothing wrong with being a monster, is there? As long as we can stay alive."

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Peter Weiss’s first prose work, The Shadow of the Coachman’s Body, was unanimously praised as an original and perfect work of art by critics when it appeared in 1960. Here, in poet Rosmarie Waldrop’s stunning translation, Weiss arranges a dark, vividly alive comedy of inert objects in a dismal boarding house—stones, buttons, hooks, needles, chairs, newspapers in an outhouse, clinking tin cups, celestial orbs, sewing machines, an overwound windup music box—which have oblique characters’ shadows as their supporting cast. Described by Weiss as a “micro-novel,” The Shadow of the Coachman’s Body can be obscene, trivial and brutal, and yet it is also peculiarly intimate and offers endless possibilities—like a telescope and kaleidoscope rolled into one.

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A Fierce Green Place: New and Selected Poems brings together, across the span of thirty-plus years, the rebellious, innovative work of the Jamaican-born Canadian writer Pamela Mordecai. From her acclaimed first collection Journey Poem published in 1989, to the moving elegy for her murdered brother in the true blue of islands, to the stories of freed slaves told in subversive sonnets, and on to her dazzling reimaginings of biblical stories, A Fierce Green Place highlights the astounding range and depths of a poet who mixes Jamaican Creole with standard English, profanity and reverence with dub and blues, the oral and vernacular with metrical virtuosity. Mordecai’s words, written out of a “womb-space” of sound and power, shine through neo-colonial violence and patriarchy with such lines as: “Women together / in one place will / bleed in solidarity / till every last body / turn super bitch at once."

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This landmark novella—one of the central texts of Mexican literature, is eerily relevant to our current dark times—offers a child’s-eye view of a society beset by dictators, disease, and natural disasters, set in “the year of polio, foot-and-mouth disease, floods.” A middle-class boy grows up in a world of children aping adults (mock wars at recess pit Arabs against Jews), where a child’s left to ponder “how many evils and catastrophes we have yet to witness.” When Carlos laments the cruelty and corruption, the evils of a vicious class system, his older brother answers: “So what, we are living up to our ears in shit anyway under Miguel Alemán’s regime,” with “the face of El Senor Presidente everywhere: incessant, private abuse.” Sound familiar? Woven into this coming-of-age saga is the terribly intense love Carlos cherishes for his friend’s young mother, which has the effect of driving the general cruelties further under the reader’s skin. The acclaimed translator Katherine Silver has greatly revised her original translation, enlivening afresh this remarkable work.

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Little Elegies for Sister Satan presents indelibly beautiful new poems by Michael Palmer, “the foremost experimental poet of his generation, and perhaps of the last several generations” (citation for The Academy of American Poets’ Wallace Stevens Award). Grappling with our dark times and our inability to stop destroying the planet or to end our endless wars, Palmer offers a counterlight of wit (poetry was dead again / they said again), as well as the glow of wonder. In polyphonic passages, voices speak from a decentered place, yet are rooted in the whole history of culture that has gone before: “When I think of ‘possible worlds,’ I think not of philosophy, but of elegy. And impossible worlds. Resistant worlds.” In the light of day perhaps all of this will make sense. But have we come this far, come this close to death, just to make sense?

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For thirty-five years American poet Nathaniel Mackey has been writing a long poem of fugitive making like no other: two elegiac, intertwined serial poems—“Song of the Andoumboulou” and “Mu”—that follow a mysterious, migrant “we” through the rhythms and currents of the world with lyrical virtuosity and impassioned expectancy. In a note to this astonishing box set of new work, Mackey writes: “I turned sixty-five within a couple of months of beginning to write Double Trio and I was within a couple of months of turning seventy-one when I finished it.... It was a period of distress and precarity inside and outside both. During this period, a certain disposition or dispensation came upon me that I would characterize or sum up with the words all day music. It was a period during which I wanted never not to be thinking between poetry and music, poetry and the daily or the everyday, the everyday and the alter-everyday. Philosophically and technically, the work meant to be always pertaining to the relation of parts to one another and of parts to an evolving whole.” Structured in part after the last three movements of John Coltrane’s Meditations—“Love,” “Consequence,” and “Serenity”—Double Trio stretches the explorations and improvisations of free jazz into unprecedented poetic territory.

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The Hour of the Star, Clarice Lispector’s consummate final novel, may well be her masterpiece. Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life’s unfortunates. Living in the slums of Rio and eking out a poor living as a typist, Macabéa loves movies, Coca-Cola, and her rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly, underfed, sickly, and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid the realization that for all her outward misery, Macabéa is inwardly free. She doesn’t seem to know how unhappy she should be. As Macabéa heads toward her absurd death, Lispector employs her pathetic heroine against her urbane, empty narrator—edge of despair to edge of despair—and, working them like a pair of scissors, she cuts away the reader’s preconceived notions about poverty, identity, love, and the art of fiction. In her last book she takes readers close to the true mystery of life and leaves us deep in Lispector territory indeed.

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Poet, Trappist monk, religious philosopher, translator, social critic: the late Thomas Merton was all these things. This classic selection from his great body of poetry affords a comprehensive view of his varied and progressively innovative work. Selected by Mark Van Doren and James Laughlin, this slim volume is now available again as a wonderful showcase of Thomas Merton’s splendid poetry.

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First published in 1978, Mary Oppen’s seminal Meaning a Life has been largely unavailable for decades. Written in her sixties, her first and only prose book recounts, with honesty, depth, and conviction, her fiercely independent life—“a twentieth-century American romance,” as Yang describes it in the new introduction, “of consciousness on the open road; a book of travel where the autobiographer is not the usual singular self at the center of the story but the union of two individuals.” Oppen tells the story of growing up with three brothers in the frontier towns of Kalispell, Montana, and Grants Pass, Oregon, determined to escape the trap of “a meaningless life with birth and death in a biological repetition.” That escape happens in the fall of 1926, when she meets another student in her college poetry class, George Oppen. She is expelled for breaking curfew, and from then on the two face the world intertwined: living a life of conversation, hitchhiking across the US, sailing from the Great Lakes to New York City, meeting fellow poets and artists, starting a small press with Zukofsky and Pound, traveling by horse and cart through France, and fighting fascism through the Great Depression. Mary Oppen writes movingly of both her inner life and external events, of the inconsolable pain of suffering multiple stillbirths, of her husband fighting on the front lines during WWII while she struggled to care for their baby daughter, of fleeing to Mexico to avoid persecution for their political activities. This expanded edition includes a new section of prose and poetry that deepens Oppen’s radiantly incisive memoir with further memories, travels, and reflections.

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With the elliptical looping of a butterfly alighting on one’s sleeve, the poems of Ana Lui´sa Amaral arrive as small hypnotic miracles. Spare and beautiful in a way reminiscent both of Szymborska and of Emily Dickinson (it comes as no surprise that Amaral is the leading Portuguese translator of Dickinson), these poems—in Margaret Jull Costa’s gorgeous English versions—seamlessly interweave the everyday with the dreamlike and ask “What’s in a name?”

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Selected by the preeminent Kafka biographer and scholar Reiner Stach and newly translated by the peerless Michael Hofmann, the seventy-four pieces gathered here have been lost to sight for decades and two of them have never been translated into English before. Some stories are several pages long; some run about a page; a handful are only a few lines long: all are marvels. Even the most fragmentary texts are revelations. These pieces were drawn from two large volumes of the S. Fischer Verlag edition Nachgelassene Schriften und Fragmente (totaling some 1100 pages). “Franz Kafka is the master of the literary fragment,” as Stach comments in his afterword: "In no other European author does the proportion of completed and published works loom quite so...small in the overall mass of his papers, which consist largely of broken-off beginnings.” In fact, as Hofmann recently added: “‘Finished' seems to me, in the context of Kafka, a dubious or ironic condition, anyway. The more finished, the less finished. The less finished, the more finished. Gregor Samsa’s sister Grete getting up to stretch in the streetcar. What kind of an ending is that?! There’s perhaps some distinction to be made between ‘finished' and ‘ended.' Everything continues to vibrate or unsettle, anyway. Reiner Stach points out that none of the three novels were ‘completed.' Some pieces break off, or are concluded, or stop—it doesn’t matter!—after two hundred pages, some after two lines. The gusto, the friendliness, the wit with which Kafka launches himself into these things is astonishing.”

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At last a new book: a baker's dozen of stories all with Helen DeWitt's razor-sharp genius Finalist for the Saroyan Prize for Fiction NPR Best Book of the Year New York Public Library's Best Books for Adults

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The Galloping Hour: French Poems—never before rendered in English and unpublished during her lifetime—gathers for the first time all the poems that Alejandra Pizarnik (revered by Octavio Paz and Roberto Bolano) wrote in French. Conceived during her Paris sojourn (1960–1964) and in Buenos Aires (1970–1971) near the end of her tragically short life, these poems explore many of Pizarnik’s deepest obsessions: the limitation of language, silence, the body, night, sex, and the nature of intimacy. Drawing from personal life experiences and echoing readings of some of her beloved/accursed French authors—Charles Baudelaire, Germain Nouveau, Arthur Rimbaud, and Antonin Artaud—this collection includes prose poems that Pizarnik would later translate into Spanish. Pizarnik’s work led Raúl Zurita to note: “Her poetry—with a clarity that becomes piercing—illuminates the abysses of emotional sensitivity, desire, and absence. It presses against our lives and touches the most exposed, fragile, and numb parts of humanity.”

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Who doesn’t love haiku? It is not only America’s most popular cultural import from Japan but also our most popular poetic form: instantly recognizable, more mobile than a sonnet, loved for its simplicity and compression, as well as its ease of composition. Haiku is an ancient literary form seemingly made for the Twittersphere—Jack Kerouac and Langston Hughes wrote them, Ezra Pound and the Imagists were inspired by them, Hallmark’s made millions off them, first-grade students across the country still learn to write them. But what really is a haiku? Where does the form originate? Who were the original Japanese poets who wrote them? And how has their work been translated into English over the years? The haiku form comes down to us today as a cliché: a three-line poem of 5-7-5 syllables. And yet its story is actually much more colorful and multifaceted. And of course to write a good one can be as difficult as writing a Homeric epic—or it can materialize in an instant of epic inspiration. In On Haiku, Hiroaki Sato explores the many styles and genres of haiku on both sides of the Pacific, from the classical haiku of Basho, Issa, and Zen monks, to modern haiku about swimsuits and atomic bombs, to the haiku of famous American writers such as J. D. Salinger and Allen Ginsburg. As if conversing over beers in your favorite pub, Sato explains everything you wanted to know about the haiku in this endearing and pleasurable book, destined to be a classic in the field.

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The Objectivist Press published George Oppen’s first book Discrete Series, a collection of thirty-one short poems with a preface by Ezra Pound, in 1934. Four years earlier, the twenty-one-year-old poet had sent an unbound sheaf of typewritten poems with the title 21 Poems hand-written in pencil on the first page to the poet Louis Zukofsky, who forwarded them on to Pound in Paris. These poems, suffused with Oppen’s love for his young bride Mary, as well as his love of sailing, are strikingly different from what they’d eventually become in Discrete Series. The scholar David B. Hobbs recently found 21 Poems buried in Ezra Pound’s papers at Yale’s Beinecke Library, and they appear here as a collection of their own for the first time.

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Perfectly titled, Vertigo —W.G. Sebald's marvelous first novel — is a work that teeters on the edge: compelling, puzzling, and deeply unsettling. An unnamed narrator, beset by nervous ailments, journeys accross Europe to Vienna, Venice, Verona, Riva, and finally to his childhood home in a small Bavarian village. He is also journeying into the past. Traveling in the footsteps of Stendhal, Casanova, and Kafka, the narrator draws the reader, line by line, into a dizzying web of history, biography, legends, literature, and — most perilously — memories.

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Gondwana: an ancient supercontinent long-dispersed into fragments in the Southern Hemisphere. Contemplating this once-massive landmass at the the end of the world while looking out at the ethereal blue ice of Antarctica, Nathaniel Tarn writes: “They said back then / there was a frozen continent / in those high latitudes encircling the globe: /are you moving toward it?” The various parts of Gondwana cohere into a unified whole that celebrates bird flight, waves, and innervating light while warning against environmental calamity. Some poems celebrate the New Mexican desert as it becomes a place of protest against the invasion of Afghanistan; in another, the rising and falling stairs at Fez in Morocco meld into a meditation on marriage, empire, and the origins of climbing. Elsewhere the heroic fighter pilot Lydia Litvyak is personified as Eurydice speaking to her Captain as Orpheus; and in the final long section, “Exitus Generis Humani,” lines pour over the reader in slow, mournful, yet often humorous, song, revealing “the poets’ hearts are a world’s heart” as the human race ends and whole armies sink into the earth “yearning for mother love.” Celebrated as a poet where “inquiry and ethical action are imperative” (Joseph Donahue, Jacket2), Nathaniel Tarn has lifted up a mind-heart mirror of our contemporary existence in Gondwana and warns us of a definitive ending if we do not demand radical change.

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Inside an apartment building on the outskirts of Milan, the working-class residents gossip, quarrel, and conspire against each other. Viewed through the eyes of Chino, an impressionable thirteen-year-old boy whose mother is the doorwoman of the building, the world contained within these walls is tiny, hypocritical, and mean-spirited: a constant struggle. Chino finds escape in reading.One day, a new resident, Amelia Lynd, moves in and quickly becomes an unlikely companion and a formative influence on Chino. Ms. Lynd—an elderly, erudite British woman—comes to nurture his taste in literature, introduces him to the life of the mind, and offers a counterpoint to the only version of reality that he’s known. On one level, Lost Words is an engrossing coming-of-age tale set in the seventies, when Italy was going through tumultuous social changes, and on another, it is a powerful meditation on language, literature, and culture.

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Basharat and his family are Indian Muslims who have relocated to Pakistan, but who remain deeply steeped in the nostalgia of pre-Partition life in India. Through Mirages of the Mind’s absurd anecdotes and unforgettable biographical sketches—which hide the deeper unease and sorrow of the family’s journey from Kanpur to Karachi—Basharet emerges as a wise fool, and the host of this unique sketch comedy. From humorous scenes in colonial north India, to the heartbreak and homesickness of post-colonial life in Pakistan, Mirages of the Mind forms an authentic portrait of life among South Asia’s Urdu speakers, rendered beautifully into English by Matt Reeck and Aftab Ahmad.

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Revered by the likes of Octavio Paz and Roberto Bolano, Alejandra Pizarnik is still a hidden treasure in the U.S. Extracting the Stone of Madness: Poems 1962–1972 comprises all of her middle to late work, as well as a selection of posthumously published verse. Obsessed with themes of solitude, childhood, madness and death, Pizarnik explored the shifting valences of the self and the border between speech and silence. In her own words, she was drawn to "the suffering of Baudelaire, the suicide of Nerval, the premature silence of Rimbaud, the mysterious and fleeting presence of Lautréamont,” as well as to the “unparalleled intensity” of Artaud’s “physical and moral suffering.”

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With his hallmark discernment, George Steiner presents in The Poetry of Thought his magnum opus, staking out his claim for the essential oneness of great thought and great style. Steiner spans the entire history of Western philosophy as it entwines with literature, finding that, as Sartre stated, in all philosophy there is "a hidden literary prose."

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After a nervous breakdown in 1929, Robert Walser spent the remaining twenty-seven years of his life in mental asylums, closed off from the rest of the world in almost complete anonymity. While at the Herisau sanitarium, instead of writing, Walser practiced another favorite activity: walking. Starting in 1936, Carl Seelig, Walser’s friend and literary executor, visited and accompanied him on these walks, meticulously recording their conversations. As they strolled, Walser told stories, shared his daily experiences of the sanatorium, and expressed his opinions about books and art, writing and history. When Seelig asked why he no longer wrote, Walser famously replied: “I’m not here to write, I’m here to be mad.” Filled with lively anecdotes and details, Walks with Walser offers the fullest available account of this wonderful writer’s inner and outer life.

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For over thirty years, Eiko & Koma, the Japanese-born choreographers and dancers,have created an influential theatre of movement out of stillness, shape, light, and sound. In tribute and collaboration, the acclaimed American poet Forrest Gander has written a mesmerizing series of poems — hinging around a dance schematic — that captures and extends the dancers’ performance with lyrical intensity and vividness.

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An Empty Room is the first book by the celebrated Chinese writer Mu Xin to appear in English. A cycle of thirteen tenderly evocative stories written while Mu Xin was living in exile, this collection is reminiscent of the structural beauty of Hemingway’s In Our Time and the imagistic power of Kawabata’s palm-of-the-hand stories. From the ordinary (a bus accident) to the unusual (Buddhist halos) to the wise (Goethe, Lao Zi), Mu Xin’s wandering “I” interweaves plots with philosophical grace and spiritual profundity. A small blue bowl becomes a symbol of vanishing childhood; a painter in a race against fading memory scribbles notes in an underground prison during the Cultural Revolution; an abandoned temple room holds a dark mystery. An Empty Room is a soul-stirring page turner, a Sebaldian reverie of passing time, loss, and humanity regained.

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Adventures in Immediate Irreality, the masterwork of the Romanian writer Max Blecher, vividly paints the crises of "irreality" that plagued him in his youth: eerie and unsettling mirages wherein he would glimpse future events. In gliding chapters that move with a peculiar dream logic of their own, this memoiristic novel sketches the tremulous, frightening, and exhilarating awakenings of a young man.

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An Episode in the Life of a Landscape Painter is the story of a moment in the life of the German artist Johan Moritz Rugendas (1802-1858). Greatly admired as a master landscape painter, he was advised by Alexander von Humboldt to travel West from Europe to record the spectacular landscapes of Chile, Argentina, and Mexico. Rugendas did in fact become one of the best of the nineteenth-century European painters to venture into Latin America. However this is not a biography of Rugendas. This work of fiction weaves an almost surreal history around the secret objective behind Rugendas' trips to America: to visit Argentina in order to achieve in art the "physiognomic totality" of von Humboldt's scientific vision of the whole. Rugendas is convinced that only in the mysterious vastness of the immense plains will he find true inspiration. A brief and dramatic visit to Mendosa gives him the chance to fulfill his dream. From there he travels straight out onto the pampas, praying for that impossible moment, which would come only at an immense pricean almost monstrously exorbitant price that would ultimately challenge his drawing and force him to create a new way of making art. A strange episode that he could not avoid absorbing savagely into his own body interrupts the trip and irreversibly and explosively marks him for life.

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Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

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Available until now only in verse translation, it has been newly rendered for the American stage by Diana Stone Peters and Frederick G. Peters. A work of profound psychological insight, Prince Friedrich of Homburg probes with passionate intensity questions fundamental to “civilized” behavior. Prince Friedrich, the hero of the historic battle of Fehrbellin (1675) against the invading Swedes, receives not laurels for his victory but the sentence of death for disobeying orders in the field. Faced with certain execution, his mood swings from abject terror to high-minded exultation as first he challenges, and then accepts, the rule of law and subservience to the state. The action moves relentlessly in the near-frenzied pace characteristic of Kleist. Intended as a paean to a Prussia triumphant in the Napoleonic wars. the play was, ironically, censured and never produced in Kleist's lifetime. In our own day, Prince Friedrich of Homburg has been both denounced as a protofascist work and lauded as a supreme metaphysical disquisition. Whatever the merits of such intellectualization, it remains one of the most moving and performable plays available for the modern stage.

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Here the spirituality of the East and the West have met in a novel that enfigures deep human wisdom with a rich and colorful imagination. Written in a prose of almost biblical simplicity and beauty, it is the story of a soul's long quest in search of he ultimate answer to the enigma of man's role on this earth. As a youth, the young Indian Siddhartha meets the Buddha but cannot be content with a disciple's role: he must work out his own destiny and solve his own doubt—a tortuous road that carries him through the sensuality of a love affair with the beautiful courtesan Kamala, the temptation of success and riches, the heartache of struggle with his own son, to final renunciation and self-knowledge. The name "Siddhartha" is one often given to the Buddha himself—perhaps a clue to Hesse's aims in contrasting the traditional legendary figure with his own conception, as a European (Hesse was Swiss), of a spiritual explorer.

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It is true that he has been one of the inner circle of the 'Beats' from the first, but many admirers of his poetry feel that it belongs quite as much to other and older traditions in world literature. One of these is the revival of pure poetry whenever an “original”––be it Rimbaud or Whitman––has broken with current verse conventions to give free rein to the magic of language. Another is that ancient pre-occupation of poets––the sense of the immediacy of death. Like Villon or Dylan Thomas, Corso lives close to the mystery of death. It is, perhaps, his central theme, on which variations ranging from the terrible to the comic are sounded. But Corso is seldom macabre. A bursting vitality always carries him back to the sensations of the living, though always it is the reality behind the obvious which has caught his eye. “How I love to probe life,” Corso has written, “That’s what poetry is to me, a wondrous prober… It’s not the metre or measure of a line, a breath; not ‘law’ music; but the assembly of great eye sounds placed into an inspired measured idea.”

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Gregory Corso's collection of poems contains works of major proportions. The title poem is a tribute to Jack Kerouac, fusing a memorial to the poet's dead friend with a bitter lament for the present state of America. The second major work, "The Geometric Poem," published previously in a limited edition by Fernanda Pivano in Italy, is a complex visionary restatement of themes from ancient Egyptian religion. Reproduced in facsimile from Corso's handwritten sheets, his marginal decorations, drawings and glyphs are included. The balance of the book is drawn from his shorter poems. Corso's reputation as a leading poet and co-founder of the Beat movement is clearly upheld in these poems. His instinct for integrated lyrical statement, his special contribution to Beat poetry, is as strong as ever; his sense of humor and sexuality have not diminished. But he has added a wider-ranging moral urgency and a new depth of humane solicitude that hold even his strangest visions close to the heart of contemporary feeling.

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Eugenio de Andrade is the author of twenty-nine volumes of poetry as well as numerous children's books, collections of prose writings, and translations into Portuguese of Sappho, Federico Garcia Lorca, and Yannis Ritsos. Forbidden Words: Selected Poetry of Eugenio de Andrade, is based on the poet's own retrospective Antologia Breve ("Brief Anthology") of 1998, expanded and edited for English-speaking readers by his longtime translator, Alexis Levitin. Marguerite Yourcenar spoke of "the well-tempered clavier" of Andrade's poems, Gregory Rabassa of his "succinct lyricism...summing things up in a moment, much like haiku." His verse, deeply rooted in the rural landscapes of his childhood and in the ancient Greek lyric, have the clarity of light on sand, radiating pagan intimations of immortality.

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"The Theatre of Tennessee Williams" brings together in a matching format the plays of one of America's most influential and innovative dramatists. Arranged in chronological order, this ongoing series includes the original cast listings and production notes.

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Carpentaria is an epic of the Gulf country of northwestern Queensland, Australia. Its portrait of life in the precariously settled coastal town of Desperance centers on the powerful Phantom family, leader of the Westend Pricklebush people, and its battles with old Joseph Midnight’s renegade Eastend mob, on the one hand, and with the white officials of Uptown and the nearby rapacious, ecologically disastrous Gurfurrit mine on the other. Wright’s masterful novel teems with extraordinary characters—the outcast savior Elias Smith, the religious zealot Mozzie Fishman, the murderous mayor Bruiser, the moth-ridden Captain Nicoli Finn, the activist Will Phantom, and above all, the rulers of the family, the queen of the garbage dump and the fish-embalming king of time: Angel Day and Normal Phantom—who stand like giants in a storm-swept world. Wright’s storytelling is operatic and surreal: a blend of myth and scripture, politics and farce. She has a narrative gift for remaking reality itself, altering along her way, as if casually, the perception of what a novel can do with the inside of the reader's mind. Carpentaria is “an epic, exhilarating, unsettling novel” (Wall Street Journal) that is not to be missed.

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Raised in Marrakech by a French mother and English father, a 17-year-old girl has learned above all to avoid mauvais ton (“bad taste” loses something in the translation). One should not ask servants to wait on one during Ramadan: they must have paid leave while one spends the holy month abroad. One must play the piano; if staying at Claridge’s, one must regrettably install a Clavinova in the suite, so that the necessary hours of practice will not be inflicted on fellow guests. One should cultivate weavers of tweed in the Outer Hebrides but have the cloth made up in London; one should buy linen in Ireland but have it made up by a Thai seamstress in Paris (whose genius has been supported by purchase of suitable premises). All this and much more she has learned, governed by a parent of ferociously lofty standards. But at 17, during the annual Ramadan travels, she finds all assumptions overturned. Will she be able to fend for herself? Will the dictates of good taste suffice when she must deal, singlehanded, with the sharks of New York?

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A meditation on the nature of life and time, Água Viva (1973) shows Lispector discovering a new means of writing about herself, more deeply transforming her individual experience into a universal poetry. In a body of work as emotionally powerful, formally innovative, and philosophically profound as Clarice Lispector’s, Água Viva stands out as a particular triumph.

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Despite having written many acclaimed non-fiction books on the region, he has always considered those writings to be footnotes to the poems. From the long work "Mutra," written in 1952 and accompanied here by a new commentary by the author, to the celebrated poems of East Slope, and his recent adaptations from the classical Sanskrit, Paz scripts his India with a mixture of deft sensualism and hands-on politics.

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Presented in Eliot Weinberger's excellent new translation with the Spanish texts en face, this is the 1957 poem "that definitively established Paz as a major international figure" (Sagetrieb). Written as a single cyclical sentence (at the end of the poem the first six lines are written again), Sunstone is a tour de force of momentum. It takes as its structural basis the circular Aztec calendar, which measured the synodic period of the planet Venus (584 days—the number of lines of Sunstone). But, as The New Republic noted, "this esoteric correlative design...does not circumscribe its subject. [It is] a lyrically discursive exploration of time and memory, of erotic love, or art and writing."

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Set in a modern, urban Paris, the prose pieces in this volume constitute a further exploration of the terrain Baudelaire had covered in his verse masterpiece, The Flowers of Evil: the city and its squalor and inequalities, the pressures of time and mortality, and the liberation provided by the sensual delights of intoxication, art, and women. Published posthumously in 1869, Paris Spleen was a landmark publication in the development of the genre of prose poetry—a format which Baudelaire saw as particularly suited for expressing the feelings of uncertainty, flux, and freedom of his age—and one of the founding texts of literary modernism.

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Fairy Tales gathers the unconventional verse dramolettes of the Swiss writer Robert Walser. Narrated in Walser's inimitable, playful language, these theatrical pieces overturn traditional notions of the fairy tale, transforming the Brothers Grimm into metatheater, even metareflections. Snow White forgives the evil queen for trying to kill her, Cinderella doubts her prince and enjoys being hated by her evil stepsisters; the Fairy Tale itself is a character who encourages her to stay within the confines of the story. Sleeping Beauty, the royal family, and its retainers are not happy about being woken from their sleep by an absurd, unpretentious, Walser-like hero. Mary and Joseph are taken aback by what lies in store for their baby Jesus.

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The Ghosts of Birds offers thirty-five essays by Eliot Weinberger: the first section of the book continues his linked serial-essay, An Elemental Thing, which pulls the reader into “a vortex for the entire universe” (Boston Review). Here, Weinberger chronicles a nineteenth-century journey down the Colorado River, records the dreams of people named Chang, and shares other factually verifiable discoveries that seem too fabulous to possibly be true. The second section collects Weinberger’s essays on a wide range of subjects—some of which have been published in Harper’s, New York Review of Books, and London Review of Books—including his notorious review of George W. Bush’s memoir Decision Points and writings about Mongolian art and poetry, different versions of the Buddha, American Indophilia (“There is a line, however jagged, from pseudo-Hinduism to Malcolm X”), Béla Balázs, Herbert Read, and Charles Reznikoff. This collection proves once again that Weinberger is “one of the bravest and sharpest minds in the United States” (Javier Marías).

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Beginning with the publication of The Back Country in 1968, Gary Snyder's long-cherished association with New Directions continued through the publication of his poetry books: the Pulitzer Prize-winning and bestselling Turtle Island (1974), and Myths & Texts (1978), as well as his prose works, Earth House Hold (1969) and The Real Work (1980), all essential titles on the New Directions list. Snyder's No Nature: New and Selected Poems, a finalist for the National Book Award, was published in 1993 by Pantheon, and his long-anticipated epic poem Mountains and Rivers without End was published by Counterpoint in 1997. Snyder has had a seminal place among American landscape writers. "As a poet," he once wrote, "I hold the most archaic values on earth." He has long been associated with Beat writers such as Jack Kerouac, Allen Ginsberg, and other poets such as Kenneth Rexroth, Robert Creeley, and Robert Duncan. His poetics are founded in Poundian modernism, Chinese and Japanese poetry, and ancient oral native traditions. Look Out is a collection personally compiled by Gary Snyder for New Directions, containing poems and essays from all his New Directions books. It offers first-time readers a chance to see the evolution of his thought and poetry, spanning two decades, and old-time fans the opportunity to behold all the favorites, in a new Bibelot edition. Also included here is Snyder's Introduction, as well as a new poem written about the late New Directions founder James Laughlin.

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New Directions is delighted to announce beautiful new editions of these three classic Sebald novels, including his two greatest works, The Emigrants and The Rings of Saturn. All three novels are distinguished by their translations, every line of which Sebald himself made pitch-perfect, slaving to carry into English all his essential elements: the shadows, the lambent fallings-back, nineteenth-century Germanic undertones, tragic elegiac notes, and his unique, quiet wit.

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Spring and All is a manifesto of the imagination — a hybrid of alternating sections of prose and free verse that coalesce in dramatic, energetic, and beautifully cryptic statements of how language re-creates the world. Spring and All contains some of Williams’s best-known poetry, including Section I, which opens, “By the road to the contagious hospital,” and Section XXII, where Williams penned his most famous poem, “The Red Wheelbarrow.” Now, almost 90 years since its first publiction, New Directions publishes this facsimile of the original 1923 Contact Press edition, featuring a new introduction by C. D. Wright.

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